BAGH-E NAZAR
Year:2017 | Volume:14 | Issue:53|Papers Count:6

The distressed areas and improvement of living atmosphere is one of the complex and multi-dimensional subjects in the field of urban design and management. Considering the importance of this subject, so may laws and policies have been issued by governments and policy makers; however, a significant improvement has not been observed in this filed. One of the reasons for the lack of development is the multi expertise nature of the regeneration programs and the diversity of projects along with the different stakeholders from private and governmental institutions that need complex coordinating plans. In the other words, the regeneration of deteriorated areas has the attitudes of a program, which a network of stakeholders have essential roles in its achievements and one of the important issues for reaching the end points of the program is governance of these stakeholders. Therefore, recognizing the structure of the stakeholder networks’ governance and criticizing it can lead to the success of these programs. As one of the most important aspects of the regeneration programs’ governance is the collaboration between nodes, this article has quantified the degree of the collaboration between nodes of the stakeholders’ network of Tehran regeneration program by using the focus group method. Then the results have been used as the date for Social Network Analysis (SNA) method which is a great program for analyzing the different aspects of the networks. Then by using SNA, the degree of collaboration of Tehran regeneration program’s governance network is identified and is compared to the ideal form of collaborative governance structure introduced in the literature to make some suggestion for making the improvements.

In studying the architectural evolutions, it is necessary to scrutinize the climatic, shape and historic typologies. Reviewing these studies clarifies the researchers’ view in using the typology as a type methodology in designing different architectural properties such as the plan, mass, form, and space. For instance, Olgy reviewed and categorized architecture in terms of architectural formation due to climatic features and Durand and Krier focused on the geometric aspects of the plans. Therefore, this paper tries to offer a typology of facades as a significant aspect of architectural design since the absence of defining a proper process in façade design has led to the development of an unpleasant cityscape and inconsistent individualistic façade design all over the city.Therefore, this paper queries the geometric and typological features in the facades of valuable buildings (traditional buildings) during different periods. In this regard, this research is conducted assuming that the correct identification and recognition of façade typology and its re-establishment in the contemporary works can hinder insipidity and chaos in cityscape while preserving the historical-cultural authenticity of the facades. Thereafter, the research is continued by drawing the basic shapes (square, triangle, and circle) according to Durand’s and Krier’s - by whom these shapes were introduced as the basic shapes in the typology of shapes – viewpoints as well as applying changes to the axes, vertices, and sides of these shapes in the opinion of Durand’s and Krier’s transformation principles in shapes in order to find the transformation trajectory in these shapes. Hence, the building facades around Imam Khomeini Square -which is a significant urban, social, political, cultural, and historical place- in Tehran city are scrutinized by library research (books and articles) and in analytical –comparative research method by studying the facades (pictures and illustrations) using 9 statistical populations from Qajar, Pahlavi I, Pahlavi II and the contemporary era (two slides from each of the four sides of the square on average). Eventually, it was concluded that the most of the geometric patterns used in the facades of the surrounding monuments during Qajar period were formed by combination or application of simple shapes such as circles and squares based on the center of the circle or in the process of repetition in terms of geometry, ornaments, and apertures. These terms during Pahlavi I period have appeared in form of triangular shapes and acute sections in a variety of combinations with a circle and a square. As for the Pahlavi II period, the influence of the principles of Western architecture led into the use of simplicity and maximum prevention in decorations in various constructions of different functions. As a result, the geometric patterns used in this period were mostly squares and the products from the square rotation in angles.

Taste in architecture means to choose the optimal building which is the most important issues in this area, attributed to different factors. But it can be understood in two introductory ways .The first way relates to outward or objective characteristics, and the second way relates to the perspective of the individual’s subjective perception .In addition to these two cases, functional aspects or living in the building and its location in the urban landscape are also important in architecture. Another noteworthy point is commodity preferences or the importance of fashion in society which plays an important role in building choice. Thus according to various aspects of “taste”, Studies began on sensory perception and its implications in aesthetic perception from Exterior side of the building and its relationship with art. Form-based features and characteristics of the external appearance of the building facade along with its impact on mind studied in beauty and art issues.Then functional aspects of architecture and the quality of human life in the building were considered. Subsequently, the search in the field of social preferences Which is another influential factor in choosing and in the field of fashion and social trends searched .As a result, it was determined that taste in architecture begins with observing the apparent or objective character of the building, associating with fashion trends to It will lead to the choice of the optimal building.

The Issue: Either Saqqa-khaneh school is a movement which was affected by the post-colonial view? Or does it intensify orientalism hegemony? Or should be found third approach?Intention and research Method: The purpose of this article is to dispute the two approaches of postcolonial and orientalism in the case of studying Saqqa-khaneh school. Descriptive-Analytic method was applied. The current study proposes is not to confine Saqqa-khaneh on the post-colonial and orientalism views; by considering Iran’s special situation. This article first describes Saqqa-khaneh and related, art movements in Iran, Europe, and the United-States at that time.Conclusion: Said’s orientalism, as the systematic emerging of post-colonial approach and also the translation of Fanon’s book “The Wretched of the Earth” to Persian both actually were after the Saqqa-khaneh movement formation. In fact, post-colonial theories of Fanon and Said played an important role in the study of contemporary Iranian art; although these theories not only belongs to later Saqqa-khaneh but also these just can be practiced in the other societies which had not similar situation comparable to Iran of the 1960s. It seems the thought of considering Saqqa-khaneh as a post-colonial art movement, itself has been influenced by orientalism view. Historical studies indicate that Saqqa-khaneh as a post-modern movement was formed at the same time which western’s art movements were born. Yet it claimed to be an Iranian movement. In addition, Iranians, particularly in that period didn’t consider themselves as a colonial society so they required to protest against their situation.Furthermore, Saqqa-khaneh never aimed to illustrate an exotic object as orientalism concept. Moreover, its environment which affects its name oriented was tied firmly with the Iranian common culture. So ascribing and limiting Saqqa-khaneh to post-colonial discourse probably cause of Orientalism hegemony. As a conclusion, it seems that the analyzing of Saqqa-khaneh commonly was affected by later perspectives, which can be described as throwing critic of the current situation in the past. This movement before to be mature, marginalized. After the 1990s, When Iranian-Islamic viewpoint was common it revived. The authors’ suggestion for the contemporary artist is to consider Saqqa-khaneh’s spiritual background and avoiding to repeat it just in appearance.

In order to teach religious philosophy and affairs in a religious space, Theocratic regimes of have begun to build a new school called the mosque-school with the help of the field provided by the mosque-shrines and the mosque-khanghah. Several studies have been conducted on the formation of these particular buildings and their properties; however, it seems that these architectural buildings still have many instructions for contemporary architecture of Iran.In this research, descriptive, historical-analytical research method has been used and the required information has been collected through written sources and field studies. In the article, suitable methods for typology were investigated and an interpretive method was found to be appropriate for the specific typology. Accordingly, the form and structure of the mosque-schools were studied and it was attempted to suggest a suitable typography based on the way of placement and the relationship between the two educational and religious parts and functions of building. The present study, based on the results, divides and categorizes this type of architectural buildings into three general groups.The first types of mosque-schools, in the central region of Iran -including Isfahan, Kashan and Yazdhave been constructed with a distinct view of Islamic Sharia based on the separation of religious and educational space. The second types of mosque-schools are simpler and more modest, and are designed and implemented in situations of lower political and social sensitivity with broad geographic spread. In the third type of our suggested typology, which is more recent of two other types, the full composition of the mosque and school has emerged. This type was very popular in Tehran and during the Qajar period and mosque-school form and structure of Marvi mosque-school had great effect on this type and followed by many of its mosque-schools. An examination of the existing relationships between the time and place and the form of the mosqueschools indicates the influence of religious beliefs and sensitivities, the amount of costs and space intended to build and following of the form and composition of well-known mosque-schools.

Throughout history, human beings have used different ways including arts to express their feelings and thoughts. Painting art has served different purposes. It has been used a medium to portray sacred things or to spend leisure time. Paintings can carry real and symbolic meanings. Sometimes they depict the reality in the environment, and sometimes they present unrealistic events or have a symbolic meaning. Color as the most important elements of the painting used in different ways to present a variety of concepts such as death, immortality. Ancient Egypt is one of the greatest and first civilizations of mankind from which many archaeological works and artworks have remained. Purpose: Previous research has analyzed the symbolic meaning of colors in the ancient Egyptian paintings based on linguistics. So far no research has analyzed the symbolic meanings of colors and traced its origin in the real environment. This paper is an attempt to analyze symbolic meanings of colors in ancient Egyptian painting works.Methodology: Due to the presence of the gods in the ancient Egyptian paintings throughout history, we have analyzed the colors in the image of the gods of ancient Egypt. To this purpose, after selecting the images of the gods, the most important recurring elements (objects) and the main colors in the paintings were examined. The meaning each of colors and their manifestation in the ancient Egyptian environment were analyzed. Finally, to support our analysis, we searched for the evidence to show how concepts are presented in the colors available in the paintings. As the death concept has received much attention from the ancient Egyptian people, the paintings portraying the mummification rituals, mourning and judgment were analyzed.